Thesis (M.A.)--University of Virginia, 1998. / Description based on content as of June 1999; title from title screen.

Charles Meryon is considered to be among the most skilled etchers in the history of French printmaking. Born in 1821, Meryon reached professional maturity during the French etching revival. His most ambitious and well-known project is his Eaux-fortes sur Paris (1850-1854), a suite of 22 etchings comprising twelve large views of Parisian landmarks and ten smaller prints of poems and other images. What is perhaps most remarkable about Meryon's representations of Paris is that they seem to show objective, detailed views of the city while also conveying the artist's subjective, uncanny perceptions of it. This tension between the real and the metaphysical is often interpreted as an indication of Meryon's mental illness, which was well known by critics of his time. One of the most frequently touched on but least developed themes in the scholarship on Meryon is his connection with Edgar Allan Poe, who was widely read and embraced in France beginning in the 1840s. The first French translation of Poe's work was published in 1844 and by the time that Meryon began the Eaux-Fortes suite, several of Poe's short stories had been translated in French journals and newspapers. Meryon began the suite in 1850, just a year after Poe's death, and had completed at least the first state of all of the etchings by 1854. Meryon's suite, like Poe's tales, has an ominous mood and, when considered as a whole, tells a story of a city haunted by corruption and evil and by its own history. In his depictions of the city's architecture and landscape, Meryon penetrates beneath Paris's surface into what he sees as its character and his treatment of his subject aligns closely with Edgar Allan Poe's representations of the modern world. The urban environment's metaphysical underpinnings that are evident in Meryon's Eaux-Fortes sur Paris merit a thorough examination, and a consideration of Meryon's representation in conjunction with Edgar Allan Poe's tales that were popular in France during the years in which Meryon was working makes it possible to put Meryon's work and his perceptions of Paris into a larger context. / text

Despite being one of the most influential writers of his era, Edgar Allan Poe led a mostly tragic life of impoverishment and personal failures and tragedies. This essay explores to what extent this affected Poe’s writing, by examining the portrayals of the emotions of grief and sorrow in some of Poe’s work, via close-reading. Further, the essay contains a shorter biographical analysis of Poe’s life and work, in order to establish a connection between the two. The meaning of the emotions of grief and sorrow within Poe’s works are discussed, and connected to Poe’s biography. The results show that Poe’s works are sometimes converging with tragedies from his own life, his personal tragedies and his stories featuring death, grief and sorrow converge on several occasions throughout his intense career.

This thesis focuses on the creative work of Edgar Allan Poe, and pieces together how various references to music in his poems and tales function in ways that echo throughout his oeuvre. By taking into account the plots and themes that surround references to music in Poe’s works, this thesis explores how Poe uses and describes music as it inhabits real world settings, liminal spaces, and otherworldly sites. The literature this thesis draws from ranges from tales little-discussed in Poe criticism, such as “The Spectacles” and “The System of Doctor Tarr and Professor Fether,” to more complex and popular tales such as “The Fall of the House of Usher” and “The Masque of the Red Death”; the same is true of the poems, which range from “Fanny” to “Annabel Lee.” The exploration of the less critically popular texts in conjunction with the more critically popular ones brings to light a clear hierarchy of music’s function in the tales and poems of Edgar Poe in ways that converse with his treatment of madness and the divine. The work of music and literature scholars will serve as the basis for distinguishing and historically positioning Poe’s use of certain musical terms, as well as ultimately providing a means to express the mythical, philosophical, and theological implications of music’s place in Poe’s works.

Programa de Pós-Graduação em Letras. Departamento de Letras, Instituto de Ciências Humanas e Sociais, Universidade Federal de Ouro Preto. / Submitted by Oliveira Flávia (flavia@sisbin.ufop.br) on 2014-09-01T20:42:40Z No. of bitstreams: 1 DISSERTAÇÃO_AcorveamentoPoeEstudo.pdf: 1588293 bytes, checksum: ed5175b296d4043e8f18e43c86898e6b (MD5) / Rejected by Gracilene Carvalho (gracilene@sisbin.ufop.br), reason: a pedido on 2014-09-02T17:38:35Z (GMT) / Submitted by Oliveira Flávia (flavia@sisbin.ufop.br) on 2014-09-02T17:59:01Z No. of bitstreams: 2 license_rdf: 22190 bytes, checksum: 19e8a2b57ef43c09f4d7071d2153c97d (MD5) DISSERTAÇÃO_AcorveamentoPoeEstudo.pdf: 1588293 bytes, checksum: ed5175b296d4043e8f18e43c86898e6b (MD5) / Approved for entry into archive by Gracilene Carvalho (gracilene@sisbin.ufop.br) on 2014-09-08T19:10:45Z (GMT) No. of bitstreams: 2 license_rdf: 22190 bytes, checksum: 19e8a2b57ef43c09f4d7071d2153c97d (MD5) DISSERTAÇÃO_AcorveamentoPoeEstudo.pdf: 1588293 bytes, checksum: ed5175b296d4043e8f18e43c86898e6b (MD5) / Made available in DSpace on 2014-09-08T19:10:45Z (GMT). No. of bitstreams: 2 license_rdf: 22190 bytes, checksum: 19e8a2b57ef43c09f4d7071d2153c97d (MD5) DISSERTAÇÃO_AcorveamentoPoeEstudo.pdf: 1588293 bytes, checksum: ed5175b296d4043e8f18e43c86898e6b (MD5) Previous issue date: 2014 / O gênio perturbado; a escrita desleixada; a grandiloquência vulgar: a despeito das tentativas de T. S. Eliot de se definir a posição de Edgar Allan Poe no cânone literário universal, ele é admitido como um dos maiores expoentes da literatura norte-americana, muito embora sua aceitação como grande poeta esteja longe de ser unânime. Do presente trabalho, consta, precisamente, a introdução e o desenvolvimento do conceito de acorveamento, utilizando como ponto de partida os pressupostos da teoria de polissistemas de Itamar Even-Zohar. Em seguida, considerando a tradução da obra poética de Poe para o português, apresentaremos a análise dos poemas The Raven, Annabel Lee e Alone, e suas respectivas traduções, feitas por Machado de Assis, Fernando Pessoa, Augusto de Campos e Milton Amado, à luz da concepção artística do próprio Poe. A obra poética do autor, ao longo dos tempos, tornou-se alvo de inúmeras traduções – cuja repercussão veio com um efeito retroalimentador. Organizando um estudo sistemático dessas traduções, este trabalho apresenta a extensão da influência de Edgar Poe nas literaturas para as quais sua obra foi traduzida, e de que forma sua obra entrou nas literaturas de chegada. ___________________________________________________________________________ / ABSTRACT: Troubled genius; slipshod writing; vulgar grandiose: in spite of T. S. Eliot’s attempts to define Edgar Allan Poe’s place in the world’s literary canon, Poe is held as one of the most prominent writers of the American literature, even though his reception is far from unanimous. This research consists, precisely, of introducing and developing the notion of acorveamento, using Itamar Even-Zohar’s polysystem theory as starting point. Next, regarding the translations of Poe’s works to Portuguese, we will present the analysis of The Raven, Annabel Lee and Alone, along with their translations, by Machado de Assis, Fernando Pessoa, Augusto de Campos e Milton Amado, in light of Poe’s artistic conception. Through time his works were translated many times – and its repercussions served to build his legacy. By organizing a systemic study of these translations, this research presents Edgar Poe’s influence on the literatures to which his works were translated, and how his works made their way into the target literatures.

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Thesis (M.A.)--Acadia University, 2001. / Includes bibliographical references (leaves 111-119). Also available on the Internet via the World Wide Web.

Submitted by WALMIRA SODRÉ AUSTRÍACO MORAES null (walmira.sodre@hotmail.com) on 2016-04-12T00:03:48Z No. of bitstreams: 1 TESE MORAES, Walmira Sodré Austríaco .pdf: 20646176 bytes, checksum: f74fdb48a92c1f63709f47e5cfb4d9c2 (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-04-13T13:50:30Z (GMT) No. of bitstreams: 1 moraes_wsa_dr_sjrp.pdf: 20646176 bytes, checksum: f74fdb48a92c1f63709f47e5cfb4d9c2 (MD5) / Made available in DSpace on 2016-04-13T13:50:30Z (GMT). No. of bitstreams: 1 moraes_wsa_dr_sjrp.pdf: 20646176 bytes, checksum: f74fdb48a92c1f63709f47e5cfb4d9c2 (MD5) Previous issue date: 2016-03-01 / Não recebi financiamento / O corpus desta pesquisa constitui-se dos contos de Edgar Allan Poe, The Domain of Arnheim or Landscape Garden, publicado pela primeira vez em 1847, e Landor’s Cottage. A pendant to “The Domain of Arnheim”, publicado pela primeira vez em 1849. Aos dois contos agrupam-se as pinturas de René Magritte que recebem o mesmo título do conto de Poe: The Domain of Arnheim (1938), The Domain of Arnheim (1944), The Domain of Arnheim (1949) e The Domain of Arnheim (1962). O recorte materializa-se mediante a análise dos efeitos estéticos e das várias produções de sentidos metafóricos registrados nas telas e nos contos. Para tanto, propomos uma discussão que tem como referencial um processo de interpretação sígnica atravessado por uma historicização da relação original entre Poe e Magritte por meio da análise de outras telas e textos subjacentes àqueles que constituem o objeto da nossa investigação. O estudo constrói uma teia de relações em cuja base está a metáfora – pensada em sua historicidade dinâmica – considerada como princípio, meio e fim das injunções estabelecidas. Estimamos, como prioridade, o deslocamento histórico-estético que essa figura sofreu, e a contextualização destaca, portanto, a sua ação transformadora pela qual literatura e pintura interagem por semelhança, por similitude e/ou por dessemelhança. Nesse sentido, a relação dialética proposta constitui-se, no âmbito de nossas discussões, pelo predomínio da metáfora a partir de suas atuações no discurso literário e pictórico e entre eles, e, ainda, em face dos seus deslocamentos. Essa relação privilegia a formação de um quadro teórico que alinhe o ut pictura poesis aos efeitos advindos do uso da metáfora, o que possibilita, a nosso ver, a aproximação efetiva entre literatura (Poe) e pintura (Magritte), com ênfase, sobretudo, nas relações de similaridades estruturais que mantêm entre si. / The corpus of this dissertation is the short stories by Edgar Allan Poe, The Domain of Arnheim or The Landscape Garden, first published in 1847, and Landor’s Cottage. A pendant to “The Domain of Arnheim” first published in 1849. To both tales are the paintings by René Magritte that receive the same title of Poe's short stories: The Domain of Arnheim (1938), The Domain of Arnheim (1944), The Domain of Arnheim (1949) and The Domain of Arnheim (1962). The focus of the research is the analysis of the aesthetic effects and of the various productions of metaphorical meanings registered on the canvas by René Magritte and the short stories by Edgar Allan Poe. In order to accomplish this objective, this dissertation develops a discussion that has as a reference the process of meaning interpretations permeated by a historicization of the original relationship between the two artists through the analysis of other paintings and texts underlying those that, effectively, are the object of the present research. The analysis established with relationships whose base is the metaphor - thought in its dynamic historicity - considered as beginning, middle and end of the established relationships. The study focuses, in the first place, the historical-aesthetic displacement that the metaphor has gone through and this contextualization emphasizes, therefore, the transforming action of this figure of speech through which literature and painting interact between themselves by similarity and/or dissimilarity. In this sense, the dialectical relationship proposed constituted by the predominance of the metaphor from its performances in the literary and pictorial discourse and between themselves and, above all, in their movements. This relationship favors the formation of a theoretical framework that aligns the ut pictura poesis of the effects arisen out of the use of the metaphor, which enables a more effective link between literature (Poe) and painting (Magritte) with emphasis, especially, on the relationship among their structural similarities. / El corpus de esta investigación es los cuentos de Edgar Allan Poe, The Domain of Arnheim or The Landscape Garden, publicada por primera vez en 1847, y Landor’s Cottage. A pendant to “The Domain of Arnheim”, publicada por primera vez en 1849. Los dos cuentos se agrupan las pinturas de René Magritte que reciben el mismo título del cuento de Poe: The Domain of Arnheim (1938), The Domain of Arnheim (1944), The Domain of Arnheim (1949) y The Domain of Arnheim (1962). La delimitación se materializa a través del análisis de efectos estéticos y de las diversas producciones de significados metafóricos inscritos en las pantallas de René Magritte y los cuentos de Edgar Allan Poe. Para este, el trabajo se presenta un debate que tiene como referencia proceso de interpretación medio atravesado por un historicismo la relación original entre los dos artistas mediante el análisis de textos y otras pantallas que aquellos que, efectivamente, son el objeto de esta investigación. El análisis se basa una red de relaciones en que la base es una metáfora, pensaba en su historicidad, considerado como principio, medio y fin de las relaciones establecidas. Según las estimaciones del estudio, como una prioridad, el desplazamiento historia y estética que la metáfora ha sufrido y esta contextualización se destaca, por lo tanto, a la acción transformadora de esta figura por que la literatura y la pintura interactuar por similitud o disimilitud. En este sentido, la relación dialéctica propuesta se lleva a cabo por un predominio de la metáfora de sus actuaciones en los discursos literarios, pictóricos y entre ellos y, sobre todo, en sus desplazamientos Esta relación favorece la formación de un marco teórico que pueda alinear el ut pictura poesis de los efectos derivados de la utilización de la metáfora, lo que hace que el enfoque más eficaz entre la literatura (Poe) y la pintura (Magritte) con énfasis, especialmente en las relaciones de similitud estructural que mantiene entre ellos.

This essay is based on the premise of psychoanalytical literal theory through a perspective of the author-imprint, or the mirroring neural-effect of the author as an external persona - a force influencing, constructing and enforcing traits, intertextual messages and sublime meanings of the subconscious in the primary text material – the short story Imp of the Perverse, published by Edgar Allan Poe in 1845. The aim is to view this short story in light of Poe's empirically documented destructive personality, proposing that the message of the story, in itself, is more than simply a tale, but part of a larger contextual idea sprung from the pained soul of the author. As primary source for the hypothesis statement, theories by Freud and the later constructions on psychoanalysis as a tool for interpreting literature have been used, such as the collected works of Kurzweil & Phillips (Literature and Psychoanalysis). Further reference will be made to extensive autobiographical works on Poe himself, combined with specific research within the psychoanalytical field by authors such as Dr. Liebig (Criminal Insanity and Hypersensibility in Edgar Allan Poe), M. Bonaparte (The Life and Works of E.A. Poe, a psycho-analytic interpretation) and more. The results of this paper found that the dysfunctional lifestyle and neurotic tendencies of Edgar Allan Poe strongly indicate a connection between his psychological state, his experiences and the message of The Imp of the Perverse. The claim, then, is that Edgar Allan Poe did indeed fuel his short story with direct elements of his own psyche and moral values.

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